亡命之徒

哎呀，这部《亡命之徒》可真够劲儿！导演丹尼尔·蒙宗拍动作片完全不按套路来，节奏快得像被人追着跑，但中间又冷不丁给你塞点人物的小情绪，看得人又紧张又心酸。导演丹尼尔·蒙宗刻意避开追车爆炸，把紧张感压在算计和人性弱点上：勒索者随机杀人的设定让道德边界变得模糊，观众既同情受害者又忍不住想“这富人活该”。马科斯·鲁伊斯演的那个落魄小子，眼神里藏着一股“不想认命”的狠劲，但被追到绝路时，他蹲在墙角的颤抖又让人鼻子发酸。导演丹尼尔·蒙宗延续了《囚室211》的粗粝写实风，全片大量使用自然光手持摄影，枪战戏基本没有配乐，只有踢倒铁桶的闷响和子弹崩碎瓷砖的脆响，让你感觉所有打斗都发生在隔壁街角。剧情不玩花哨反转，而是像滚雪球一样让道德困境越滚越大——每个角色都在为了点微末的钱或尊严，把自己逼进死胡同。马科斯·鲁伊斯演的不是硬汉，而是被生计和冲动一步步拖进深渊的普通人，他那种“想收手却收不住”的焦躁感贯穿全片；贝戈尼亚·瓦加斯有一场在电话亭盯梢的戏，全程只靠眼神和抖腿就演出了濒临崩溃的紧绷，比大吼大叫有力得多。

Set in 1978, the film marks the fourth joint effort between Monzón and Jorge Guerricaechevarría, and tells the action-packed, adrenaline-fuelled story of 17-year-old Nacho Cañas, an introverted student who lives in Girona and who is something of a misfit. When he meets El Zarco and Tere, young delinquents from the city’s Chinatown district, he gets caught up in a love triangle that leads him to indulge in an unrelenting onslaught of thievery, burglary and hold-ups that will change his life forever. The film is the chronicle of the summer during which Nacho experienced his first love and came of age, constantly crossing the boundary between two worlds, and overstepping the line that exists between right and wrong, between justice and injustice.

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